Martin Baumgarten

That's terrific Nicholas to see someone using this format again. Yes, it's true, this format has been used many times in the past by various Widescreeners amongst the various Widescreen Associations [The Widescreen Association - England, Australian Widescreen Association, American Widescreen Association - AMWA, and AWS - American Widescreen Society, and various cine clubs worldwide]. Variations of this theme, modification of a BOLEX H-8 (Pan-8) or H-16 (Pan-16) to shoot a Widescreen non-anamorphic format is still done by a very few enthusiasts. An "ultra" format was also tried using the Double Super 8mm format via the full film width years ago, and again repioneered by Rudi Muester of Muester Film & Video Tech in Switzerland, who proposed the Wide DS8 format complete with magnetic sound tracks. He also was the inventer of the Super 8-B format (B standing for Breitwand or Widescreen in German), which in English could be called Super 8-W (instead of that idiotic name that is out there.....and excuse me I just can't write it down here), whereby the area nominally used for the main soundtrack (optical or magnetic) is used for imaging area resulting in a wider format (akin to the Super-16 format but in Super 8). Those wonderful BOLEX cameras just lend themselves to so many realms of filmmaking. They have been used for 3-D, time lapse (there are units out there that allow such functions with even the earliest ones made), anamorphic Widescreen (whether using the original Moeller lenses made for this purpose in the 1.5x compression format or any of the 'Scope' lenses in 1.75x or more popular 2x compression formats). Another underdog of formats was using the Split-16 or Split-8 format, whereby the camera films sideways, using normal 16mm film but half-frame (or Double 8mm film, but using a 16mm frame height pulldown for similar effect). The aspect ratio is wider-than-normal at 1.5:1, with an image field twice that of a Regular 8mm frame, still yielding very good image quality......and the lower running costs, since a 100ft Daylight spool of 16mm film has DOUBLE the running time. The film is used as in any Double Run camera. Holding the camera sideways with two hands results in very stable images, and projection is done with either using a Dover Prism in front of the lens to reorientate the image onto the screen, or via a modified projector that sits sideways. In either case, the 16mm projector has the film gate modified to show the half-frame, and the now 8mm width projection reels are keyed with the square 16mm one to fit the projection arms. Sorry for digressing here a bit, but the topic is Widescreen based. One more interesting tidbit, a man in England Stewart Warringer invented a tilted filming format on Super 8mm film that resulted in a Wider-than-norma aspect ratio. The gate was filed out, and the camera was fitted into a holder so that it was at a 30 degree tilt. You'd have to see it to believe it, but it worked fine. The projector also was modified with the gate filed out at that angle....and it had to sit in a cradle to hold it that way so the projected image would be correctly orientated on the screen. The goal of all these formats and others, was to yield a Widescreen format, without having to use Anamorphic Lenses. Of course, those of us that have shot and still use Anamorphic lenses for Widescreen or CinemaScope filmmaking (or still photography) appreciate the gain, for the small bother of having to use brackets and make some other technical concessions in filmmaking. I applaud your efforts and wish you great success in this. Being the person I am, I will shoot in Widescreen in either 8mm format using an Anamorphic lens though.

If the batteries you purchased are new alkaline Double A batteries and they are depleting this rapidly, then your camera has an electrical short in it somewhere. Did you feel the batteries to see if they are getting warm or hot? This is indicative of an electrical short. The most common place to track this down is the battery chamber itself. Some light corrosion could be causing a short to ground, thus draining the power. Examine the battery compartment with a flashlight and use a cotton swap dampened with alcohol and clean up all areas around the electrical contacts. Look for mild corrosion. Use compressed air cans and blow out any debris from the battery compartment. If there is nothing visible, and you've cleaned it up, then the problem is more serious and could be internal in the camera. Sometimes mild corrosion from the battery compartment will work its way up the electrical wire(s) to the main circuit board and/or motor assembly. Usually any corrosion in the wiring nearing a point along the camera's metal body, will also cause a short to ground. To find this, would require camera disassembly and that can be so involved, that even many camera repair technicians wouldn't do it. The best option after doing what I've outlined is to just keep this camera as a keepsake, and look for another working Super 8mm camera. There are so many out there, and you can often find one in good order for a very reasonable or cheap price. Best regards.

That is sad news indeed if it's true. It always seemd though that given enough of a minimum order, Eastman KODAK would make up DS8 or DR8 in any filmstock they offer. The trouble is the minimum is very high. Anyhow, JavaPhoto.com has Fomapan R-100 in stock, in both DR8 and DS8 formats, so check with him. As for Color Reversal GK Film in Germany show Double Super 8mm available in their Cinevia stock, which is FujiChrome Velvia ISO 50 Daylight. This is the same stock he uses to make up various other "Cinevia" filmstocks he sells. http://www.gkfilm.de/en/index.html to get to the DS8 page, and at EURO 48 for in EU purchases with the 19% VAT or less for export. Also, as long as someone has the perforation equipment, DS8 can be made up from a variety of available filmstocks. The most affordable way is getting unperforated 16mm width rawstock, which is limited by some manufacturers....leaving often the costlier method of having to slit down wider filmstock such as 35mm to make up smallgauge film, and there's the waste of the sprockethole area of the wide gauge. If 9.5mm users can still get filmstock, and they number very small, then DS8 can continue as well. In the meantime, I suggest order as much as one can afford on this EK 100D batch. Freezing will keep the film usable for a couple decades easily.

Film that is to be used within 1 to 3 months can be stored at room temperature, but KODAK and other manufacturers recommend storage at 55 F or less for film being stored 1 to 6 months. Longer than 6 months, it should be refridgerated, and longer than a year, it should be stored frozen. Get good quality ziplock freezer bags, evacuate as much air out of the bags as you can before you zip them up. Also, if you can do this in an environment at less than 60% Relative Humidity, that will help. The official recommendation is for 'indate' film, as with expired filmstock you need to store it cold so it will keep. So, for any 'good useable' expired filmstock, if using it within a year, refridgerate it, otherwise freeze it. As for film keeping, YES, it will hold most of its original properties if cold stored when it is still good. Very long term cold storage will still have some aging attributes, such as some contrast loss and some color saturation loss.....however, very minor compared to NOT cold storing the film. Not cold storing the film, it will age rapidly, and will loose significant effective filmspeed, contrast, color saturation and color dye shifting, especially as it enters the 3 to 5 years past expiration date. This will just accelerate as time passes eventually leaving you with film that has most of the color shifted to blue-green or mostly green, very little detail, lack of tonality even though the image is now mostly monochromatic with green tint, and so forth. Although it can take 10 to 15 years to get it to such a really bad point, kept at room temperatures in the 64 F to 72 F range. Higher, and it will be worse of course. I still have a little film with expiration dates of 1982 in my freezer that I've been using, and quite a bit from the later 1980s and 1990s. Cold storage despite some aging of the film, will leave it still very useable with predicatable results. Black & White film will lose filmspeed and contrast at it ages, and the loss of filmspeed will result in a much lighter washed out image unless the processing is compensated for. Lastly, to use film that has been cold stored, the recommendation is to move frozen film to the refridgerator a day ahead of time, and from the fridge to move it to room temperature at least two hours prior to use. Although, in practice over the years, film that has been moved from the freezer to room temp, in those ziplock bags and left that way overnight, was fine to use the next day. The only time any trouble was ever noted was if the ziplock bag had lost the seal, or had too much air in it...then there was a moisture problem if moved to room temp immediately. Anyhow, so with care, you can keep film for a long time to use even years from now if so desired. If for some reason all film manufacturing ceased, it should be possible to still keep stock for years, and process it by making up chemistry to formulas. Good luck, and cold store your film ASAP! Addenum: IF for some reason you can't afford a freezer to freeze your film....at least keep it refridgerated. That will keep the film fine for several years with minimal change.

Film with an expiration date of 1972, especially KODACHROME (give the curing time prior to release) was probably manufactured around 1970 sometime. IF the film had been stored frozen all these years, it would still be usable albeit some aging artifacts such as loss of color saturation and contrast. However, all that is a moot point here since the K-12 process, along with all things color reversal for any KODACHROME officially is over. The room temp storage would have given the film tremendous age fog over the now nearly 40 years since it was made. But, even so, I've used old films from time to time in testing here, and despite significant loss of filmspeed, they still react enough to light exposure to make images. The film can only be processed as a B&W Negative to realistically expect anything out of it. If you intend to do this, expose it without the Daylight filter and rate it manually if possible at ISO 10. Either way, exposed 'normally' by the camera or manually with some overexposure, you're taking a chance on getting anything usable.....but you never know. I have been pleasantly surprised a couple years ago when I processed some EKTACHROME 160A with an expiration date of 1978 and it still had a fair range of color and density. Of course, storage history is everything, and the radiation that film is exposed to, in addition to heat and time, varies somewhat in all situations. You could just keep it as is as a memento to another era of film...or at the very least, save the box and cartridge after processing. Good luck if you shoot it!

If the NIKON R8 you purchased works well, then that was a good price. Although, they have sold for less on eBay, but then you have KEH Camera's reputation which is a good one. The R8 can be somewhat complex to use, so I suggest getting the owner's manual (which I recommend for most any camera user since even if only one task is helped by the manual, it's well worth buying....versus a drastic failure with the cost of film and processing). The NIZO S-481 is a great camera, and somewhat more compact and lighter than the NIKON R8. Also, it is only one of a few Super 8mm cameras that offers not only Time Lapse (2fps to 1 frame per minute), BUT also offers LONG Time Exposures automatically per frame from 1/10th second down to 1 minute! This can be amazing to use, as I have shot under a full bright moon using KODACHROME and gotten great results in the past. Actually, I think all Super 8 filmmakers/shooters/artists should consider having several cameras: [1]. main production camera (like your NIKON R8 or similar) [2]. one for unique tasks (such as what the NIZO can do) [3]. a small compact travel camera (could be as simple as the CHINON Pocket-8, Chinon 132P XL/133P XL, ELMO 310 XL, ELMO 103T, SANKYO EM-30XL/EM40XL or similar ones. Some are more limited these days due to ISO speeds, but concessions can be made on some cameras if needed. [4]. a beater camera...one that won't be a big loss if it gets damaged or totalled for those unique shots such as duct-taped to the side of a car for chase scenes or to a motorcycle or bicycle or skatboard, or for those falling off a building shots etc. [5]. a camera for complex tasks such as double exposures, titling, film duplication, lens interchangability for super long telephoto or ultra wide angle shots or for microscope or telescope filming. Depending on your needs or desires, it could easily take 2 different type cameras for these purposes. ADDENUM: ALSO...the compact zoom lens size on the NIZO S-481 allows for easy use of accessory addon lenses: fisheye adapter (or make your own via expoxing a door viewer to a lens cap drilled out to fit, telephoto addon lenses made for many video cameras....really extend the super telephoto effect here without using a lens-interchangable camera, ease of using Matt Boxes, Filter Adapters, and of course for WIDESCREEN filming...it's the perfect size for Anamorphic lens use (since many of the various 1.5x adn especially 2x lenses mate well to this camrea). I'll end this here, as I'm drifting off topic already, sorry.

Good idea. Sorry for having to go to an outside URL, I thought it was easily possible to just upload a photo on this forum. Here are some image samples. While not the highest quality scans, they will give you an idea of what 'good' KODACHROME processed as either B&W Reversal or in Sepia tone Reversal look like. Saves having to email them I suppose. Link: http://s1202.photobucket.com/albums/bb361/MartinBaumgarten/

I've seen some very impressive enthusiast films shot in both Super 8mm and Regular 8mm that looked every bit as professional as anything else out there, format quality limitations notwithstanding of course. I've seen some of my own WIDESCREEN Anamorphic full Scope films projected on a 24ft wide screen and they looked just awesome. Anything handheld has to be done carefully, and those shots that are setup for a film project that can be on a tripod, should be. Use of a fluid head tripod (these days quite affordable as so many lower cost ones made for the video market have a fluid dampened head) will greatly improve panning shots. So, despite a given format's limitations due to being smaller, you can really do most anything anyone can do with 16mm or 35mm....when it comes to filmmaking technique and trying to convey a film story, and use of professional technique. The rest of course, is in the post......editing, effects, titles and sound.....all which are as involved as can be. And nothing really done in post, will fix poor quality filmaking work on location. Lastly, using some care, even home movies and documentaries shot on the cuff, can look tidier. This mentality that because a given film was done on a small gauge format, it will look jumpy and amateurish is nonsense. But then, perhaps that's another reason we all love Super 8mm, in that it allows simplicity and handholdability in situations where anything large just may not be practical (or as much fun to use!).

The NIZO 481 Macro is a great camera. One of the drawbacks to it and many other Super 8mm cameras (especially many made after about 1974) is that they were only made to read the standard filmspeeds for mainly KODACHROME 40A and EKTACHROME 160A/G. However, they could still use films such as the discontinued PLUS-X 7276 (ISO 50) & PLUS-X 7265 (ISO 100), and TRI-X 7278 & 7266 (both ISO 200). The relative film exposure latitude will allow use of these films in your NIZO 481m. DAYLIGHT and TUNGSTEN differences are/were intended for shooting under either situation with and without the builtin Daylight Conversion Orange filter which was made primarily for using Color Tungsten filmstocks. Virtually all Super 8mm Color Reversal films made during the heyday of Super 8mm, were Tungsten films. That way, the filmer could shoot in both daylight and tungsten lighting, with only ONE filmstock. It often meant having to use photoflood lamps for dark indoor filming. The Wratten #85 Daylight Conversion Filter lowered the effective filmspeed since the filter absorbs light of course....thus the reason for different Daylight and Tungsten ratings for each given filmstock. This can also be applied to using B&W films.......but these days KODAK doesn't notch the cartridges for Filter use....BUT you can do so yourself IF you want to take advantage of that builtin orange filter which works GREAT for B&W films shot in daytime. Saves having to put a filter on the camera lens, and it lowers the filmspeed by a third, thus allowing easier use of TRI-X in brighter light since it will be effectively ISO 130 instead of 200, and if you use the Variable Shutter you can drop that to HALF, thus ISO (E.I) 65. As long as your builtin exposure meter is accurate, you can still take advantage of it for films outside of the camera's exposure indexing range. Note I didn't say exposure range...since the meter, IF it had been calibrated to read the other cartridge notches, would've been fine and easy to use of course. Anyhow, so what you'd do here for example if you were using say, ISO 400 or 500, is take an exposure reading, knowing that the maximum filmspeed notch the camera can read is ISO/ASA 160.....then adjust the exposure setting in the viewfinder display via setting the camera to Manual Exposure Control with the necessary exposure bias that you need. Thus, if the meter display shows/reads F/5.6 (at the max ISO of 160) and you're using say the new VISION-3 ISO 500 film, you know that ISO 500 divided by ISO 160 is about 3 (close enough here) so you would factor that in as 1.5 Stops, so your NEW exposure setting would be set at the mark between F/8 and F/11. You would use this similar methodology for any other films. For a more accurate exposure rendering for TRI-X 7266 if you don't want to live with the film latitude range at ISO 160, then using the above example, take a reading and if it's F/5.6 for ISO 160 then for ISO 200 it would be a little bit higher, or a smaller F-Stop opening.....thus about 1/3 Stop setting past F/5.6 in the direction of F/8. It's not much of a difference, but that's how you would do this. I recommend metering via a gray card or other similar value to find your exposure range, and then factor in any considerations you need for what your subject matter is; light, dark, contrasty etc. The NIZO 481m has a variable notch lever that reads the notches up to that ISO 160. Why they didn't go higher is beyond me, but BRAUN did so on the sound cameras. Frustrating when the CHINON made cameras such as the GAF ST-xxx series and higher all read from ASA 16 to ASA 640 (Daylight & Tungsten films considered in this range). That all notwithstanding, it's possible to have the camera's exposure meter modified so it would read higher or have an external potentiometer adjustment made for Under/Over Exposure value changes, but that might or might not be worth the hassle; only you can assess that. A guy in Europe was making such modifications to various cameras back when we all had the exposure situation with the EK64T filmstock.....going under the name of Adams64. Not sure if he's still doing this. If you wish to meter using an INCIDENT Exposure Meter setting, first calibrate your hand held meter to the camera's meter (if the camera meter works fine of course). For example; using a gray card, white card or similar solid toned material for metering and regularity.......meter with the camera at it's Maximum ISO 160 reading, or whatever other useable cartridge the camera will read okay. Then read with your handheld meter but set at the REFLECTIVE setting (not incident) and read off the card, and adjust the ISO setting until the meter is correct, thus matching the camera. Take note of the ISO change compared to the NIZO S-481m, and you'll see the deviation. The camera of course, is metering thru the lens and has the shutter angle and beamsplitter light loss all calculated into its exposure reading. You need to have your handheld light meter setup in agreement. Now, you can use the light meter set to INCIDENT setting, since you know the deviation you will have to set the ISO at so it agrees with the camera. IF for some reason, you do not have a Reflective setting on your meter, and it's truly ONLY and INCIDENT Meter.....then do this: place a thin walled white stryofoam coffee cup or drink cup over the camera lens and face it into the light falling on it and take a meter reading. Then take your Incident meter reading as well, and compare the two readings. Then, take a reading with the camera off of an 18% Gray Card and compare that to the plastic cup "incident" meter reading you did with the camera. Compare BOTH readings to the one from your hand held INCIDENT Meter reading. IF using Negative films in the camera, bias the exposure to the slight over-exposure side based on those TWO camera readings, NOW factoring in the difference to your hand held INCIDENT Light Meter. For example: IF the NIZO S-481m gave you a reading of F/8 off the gray card, and a reading of F/11 using the cup method.......use the middle range setting for most shots until you've done a test roll for reference for future filming. Otherwise, use the F/8 setting to calibrate your INCIDENT Meter by changing the ISO so that it does read F/8...and use that for Negative films or all films until you've done tests to see if you need to make other exposure changes for lighter or darker subject matter. FOR REVERSAL films, use the middle or higher setting of F/8 & 1/2 or F/11, until you've made your test film. The TEST FILM is important, since it will visually let you know exactly how much to compensate for, for either NEGATIVE or REVERSAL films, and under what lighting.....so you can make NOTES and then always be able to factor that bias into your hand held INCIDENT Light Meter from then on. It's all easier than it sounds here in text writing of course, but you do have to specific in how you conduct your tests. At the very least, if unable to do an actual film test, you'll be in the ballpark exposure wise for most situations. Hope this helps.

Also, it is probably still possible to film the monitor screen using FujiChrome Single-8 R25 which is Daylight balanced and then the film is polyester based to start with. Since this is color reversal stock, once you have shot your test and tweaked settings to your liking, you can just reshoot the monitor and make as many as you need. The filmstock is still floating around out there and processing is still available as well.

Anytime anyone publishes a book on such a technical topic as filmmaking and so diverse as the world of SUPER 8mm, there are bound to be some small errors of course. I'm sure this book is as wonderful as everything that has been coming off the presses at ATOLL MEDIA! I look forward to buying my own copy before too long. Clive Tobin is correct though, not all Super 8 cameras have the built-in Daylight conversion filter. KODAK in their infinite 'wisdom' did offer several variations of their famous "XL" cameras that only allowed use of EKTACHROME 160 TYPE G (or TRI-X since it would fit into the camera and be exposed at ASA 160). The "Our Gang" cameras and the two numbered models, XL-33 and XL-55. All of these cameras actually have a small plastic notch piece to prevent using any other cartridge other than the EKTACHROME 160 Type G (but the TRI-X ones would fit). There is a workaround....and that was to cut a notch in the cartridge so it would fit into the camera, and then put an 85 Filter on the lens, AND a piece of it taped over the Exposure Meter Window. This would then allow use of EKTACHROME 160 Type A films or similar. Today, it's a moot point since as is stated...the neoprene rubber drive gears on those cameras crumbles to a mess with age and most no longer run. The cameras could still be used if a replacement gear were fitted though. Other cameras without the Daylight Conversion Filter are: BEAULIEU 6008S BEAULIEU 6008 Pro BEAULIEU 7008S BEAULIEU 7008 Pro BEAULIEU 9008S BEAULIEU 9008 Pro [The above Beaulieu cameras offered either a conversion filter built into the lens, or as a screwin filter, but NOT in the camera body] and... COMET plastic simple fixed lens camera with adjustable aperture settings BENTLY B-3 plastic simple fixed lens and fixed aperture camera BENTLY BX-720 (same camera as the COMET above) and some other independant branded versions of the above plastic cheapo cameras. The processing reels in the Morse G-3 tanks are made of stainless steel....and later in the Arkay G-3 and Doran G-3 versions, of plastic (and without the re-exposure window on the tank either). The stainless steel reels were made in two versions, one which only does 16mm and 35mm and the latter which has 3 positions for Super 8mm, 16mm and 35mm.

Since my lab offers custom manual cine film processing, I thought discuss what 'good' KODACHROME KMA-40 film processed as B&W Reversal and in Sepia looks like. However, I can't seem to figure out how to upload the iamges....but will email them to anyone that asks so you can see how they look. So, don't throw any unused KODACHROME film away, it can still be used. I'd rather shoot B&W or Sepia SOUND film, than not have any sound film at all. For that matter, all my frozen silent stock of Super 8mm or Regular 8mm can still be used. Of course, Sepia tone processing in reversal looks great with conventional B&W Films such as TRI-X, PLUS-X and FOMA R-100.....more brown and different from what KODACHROME looks like. The Sepia tint seems to almost glow in highlight areas. The image quality on KODACHROME processed as Black & White Reversal varies. If the films are old or poorly stored, there are sometimes some yellow stains or streaks, or some other oddities. Done in Sepia, all B&W positive silver is converted and even the base takes on a Sepia tone, so less chance of any yellow stains ever being noticable since there's such a strong tint bias. I've seen image quality all over the range as I get film in for processing. I've gotten good results from Regular 8mm as well. The film does have to be pushed a bit in order to get 'normal' density from films rated at ISO 25 Daylight (with Filter....helpful if you want to gain cloud details) or ISO 40 (without Filter)....which is what most Super 8 cameras rate the film at. If you wanted the film processed without any pushing, it would have to rated around ISO 10, which is quite slow. I really haven't noticed any significant grain change either way....but will conduct some more tests of my own since I still have plenty of my own cold-stored stock in the freezer. Lastly, 'good' KODACHROME film can be processed four different ways: (1). B&W Reversal (2). B&W Sepia Tone Reversal (3). B&W continous tone negative [using a good continous tone B&W Negative Developer such as D-76 etc] (4). B&W high contrast negative [b&W Reversal Process without Reversal] Hope this helps shed some light on a filmstock, that while no longer processable in Color Reversal, can still be used as B&W.

BUT, it's beautiful, delightful to hold, a fun conversation piece, highly sought after collectable......AND....they can converse with you in all of the popular languages. Also, remember...full refund if not delighted. HA. Sorry, their ads just make most of us crazy. They often state that film and services are readily available. I emailed them asking where to buy film, when they stated this regarding a UNIVEX 8-A camera. This camera uses single strand Regular 8mm film on now somewhat rare to find, 30ft camera spools. Of course, there isn't any source for single strand film, unless you slit it yourself, or have me or some other lab custom make it up for you (and I have the camera spools). Anyhow, I have noticed that whenever they have that type of camera on there, they don't state that film is available, but do say it will make beautiful movies. Similar nonsense with some AGFA Movex early model that uses a special cartridge for single-strand Regular 8mm (Straight 8mm as it was called back then). Anyhow, hey.....wondeful collectable and beautiful cameras that are highly sought after and........

To shoot a split-screen effect in Super 8mm, using a cartridge loading camera you really only have two options (post effects in software notwithstanding of course). Since the cartridge doesn't allow full rewind, you can do limited short effects by using a Film Cartridge Rewinder; such as ones made by EWA (Germany) or CRAVEN (England), some years ago. These normally limit rewinding of film to about 100 frames (should only be done when you've filmed at least 10 feet from beginning or within 10 feet from end of cartridge.....some instructions will state within 5 feet, but it all depends on how long a rewind you desire). Some have been able to rewind film by even as much as 200 or more frames, and some devices stated that it was possible to backwind up to 300 frames. However, the film is just being pushed back into the supply side, and there's always a risk of developing a film jam; so caution and testing with old junk film is advised to learn the technique. It's also possible to backwind manually up to 100 frames by using this technique: (1). Tape over the cartridge core to prevent film takeup (after first having filmed at least 5 feet). (2). Film your intended scene up to 100 frames in length [5.5 seconds at 18fps or 4.1 seconds at 24fps] to be split-screened or other double-exposure type effects; for split-screen using either a Matt-Box or other simple device to block off Half of the image. (3). Note the Footage Counter on the camera and jot that down, then Remove the cartridge from the camera in a film-changing bag (or in the light if you don't mind an inch or so being fogged in the cartridge gate). However, you'll need either a completely dark room or film-changing bag to rewind the film. The film did not take up snuggly on the takeup core, since it was taped over. So, using a thin plastic or rubber glove on the hand or finger gater, push the film upward back into the cartridge. You will do this until the film becomes snug, and DO NOT force it once resistance is met. The film you shot will now be wadded up into the Supply chamber of the cartridge. (4). Re-insert the cartridge into the camera, using a film-changing bag, dark room, or room light if you don't mind a short fogged piece of film at the begining of your scene. Proceed to film the Second Half of your Split-Screen effect....having first moved the Mat or Cardboard etc to the other side of the lens so you refilm on the half that wasn't exposed. Lastly, the only easy way to do a complete Split-Screen effect using 50 foot (15m) Super 8mm cartridges is to film the entire First Half of the desired Split-Screen effect, and then to open the cartridge carefully, and reload the film to the beginning....then to refilm on it once the film has been rewound/reloaded and the cartridge sealed up. This is a service I offer here at PPS, NY and have been rewinding cartridges for customers since 1981. To do this yourself though, you'll need to make up a jig and it's all a bit complicated of course.....but it's possible to do so, since I do it quite often here in the lab. Hope this sheds some light on what is involved. Good luck.

The main companies that made Super 8mm processing tanks are now gone, but the equipment shows up fairly often on eBay. Both Superior Bulk Film Company and ESO-S Pictures who sold a version of the fairly well designed and easy to load "Powell Tank" closed their doors in 1984. The famous rewind tanks, of which the last incarnation of the Morse G-3 was the Doran G-3 ceased production a couple years ago; however these show up on eBay often...just have to double check if they do Super 8mm; those reels have 3 positions. JOBO FotoTecknic in Germany ceased production of the large 50 foot (15m) Spiral Reel processing setup quite a few years ago. They were quite expensive new, and are rare to find anywhere. The Russian made LOMO tanks are quite common and available showing up on eBay monthly. These work well, if you are careful and learn how to load them. The only drawback to the LOMO tanks is that the reels can break easily, the threaded center hub strips out easily with lots of use, and the dimensions of the reel spacing varies from spiral reel. However, I have been able to file down the center hubs until the spacing was correct. Since the LOMO tanks are affordable, reasonably easy to learn to load for most darkroom techs, and show up often, I would recommend these. Another way to process 8mm movie film is to build a small rack which you would then tray process. Since the film is all immersion processed at the same time, as with spiral reel developing, good consistant results can be gotten. As with cameras, since there is such a vast supply of items out there, it really doesn't make sense to have limited new production runs made of needed items....as the cost could be quite high. I only use manual processing methods in my custom film lab here, and have been processing movie since 1974. Having used virtually every method there is to soup movie film, I recommend spiral reel processing or rack processing for the most consistant results. The many other methods, if used carefully, can also produce fine results: Rewind Tank, Hose Method, Reel & Trough Method, Separator Strip & Reel & Tray Method (however...hard to find for Super 8mm), Rotating Drum in Trough or Tray Method, and some others which are variations on these. There's still plenty of interest in shooting and processing Super 8mm and also Regular 8mm motion picture films. For that matter, you can also still shoot on 9.5mm film, which I also process.....and FUJI Single-8.

The LEICINA is a pretty robust camera. Double check all your knobs to make sure it's not on single frame. Of course, check the obvious: Battery chamber connections....rotate the batteries to ensure a good connection etc, make sure you have a film cartridge in the camera or an old empty dummy one, since the camera will not operate or come to life without one (unless you tape down the small film chamber button which is normally depressed by the cartridge), and check the film cartridge itself. It's summertime now, and it's very easy for humidity to swell the emulsion in the cartridge film gate, and cause it to stick. So, pull the film down an inch or two with your finger, and then rotate the film core clockwise until you feel the film snug (do not force it!). With a quick double-check, the camera should come back to life. If it was running fine before and not now all of a sudden, it's almost always something minor as in the above. Good luck, hope you get it sorted out pronto.

Matthias, the concept you are wishing to use from the still format usage, is not usable in practical terms with Super 8mm (or any motion picture format). This is because in creating a still image via a slit-scanning method...variations of density still create an image across the single large frame from which a photo will be made. In movie film usage, there are 18 frames per second (or 24), and thus if the film was just moving past the gate without an intermittant movement to stop the film for that fraction of a second to achieve the individual frame image.........the results are just streaks of light, without any real detail to them. Sorry, maybe someone can add something to this concept.

Hi, film stored in a loft (attic) can most often be subjected to high heat in summer periods, and this will have very damaging effects on photographic film. But, if for some reason it was air conditioned and has been cool, the KODACHROME if of late manufacture might still be okay (albeit only processable in some variation of B&W: high contrast neg, continous tone neg, B&W Reversal, or Sepia tone reversal). The color negative stocks are more critical and should've been refridgerated at the very least for such a long duration. However, despite some contrast loss, fog build up, and some color shifting, you might still get something useable for experimentation out of them. Since this information on processing KODACHROME is somewhat hard to find, I have to mention it here, that I offer processing of these films at Plattsburgh Photographic Services. So many now think all KODACHROME is a lost cause, and that is not the case. There must still be tons of SOUND film out there, while no longer processable as Color Reversal, it's great having sound film in B&W (or the rich deep brown tones of Sepia). Anyhow, enough of the plug, I don't care if anyone sends me film for processing or not, the main issue is....IF the KODACHROME is still good, it can be used and processed. Hopefully soon, there will be some affordable processing by a major lab somewhere....so keep it on ice so to speak and DO NOT toss it out!

The LEICINA Reg 8mm movie cameras sadly are only auto-exposure. Why? Who knows, but it sure would've been nice to have a true manual exposure option on these nice cameras. All there is, is an autoexposure bias control knob which is part of the ASA/ISO setting knob. As you can see from the detailed repair instructions, servicing can be quite complicated. Also, unless the autoexposure system can be repaired (once you determine what has failed and provided you can get parts from somewhere), the camera's aperture cannot be set. The adjustment is purely electrical. It might be possible to rig an internal mechanical setup to the aperture blades and render manual exposure, but this would be complicated and require testing to know what the values would be. The camera without a working autoexposure system can still be used. Although it will require some initial testing to see how to use it under various light conditions. If the aperture is stuck fully open, then you can use the original F-Stop value as a starting point, and with the use of Neutral Density Filters, you can achieve some basic kind of exposure control. It will be much slower to use and much more limited, but for certain situations, the camera can still be used. I have used one similarily and had great results. However, without a working aperture, the lens will have very shallow Depth-of-Field at longer focal lengths (if using the zoom version) and will still be quite good if using the fixed small lens version. Good luck! Other than that, I suggest getting it repaired professionally somewhere, or just buying another working model somewhere.

The wonderful but complicated LEICINA RT-1 really demands that one have the owner's manual and refer to it as often as necessary. This camera uses a different convention compared to virtually all other Super 8mm cameras. The AutoExposure bias knob should show a change in the aperture display in the viewfinder when changing it to another position. Keep in mind the change is in 1/3 Stop increments, so it will require considerable rotation of the knob in either the Plus (Over-exposure) or Minus (Under-Exposure) direction to the aperture scale move. If yours does not move, then either the exposure is locked, the power is off, there isn't a cartridge in the camera (required in order for the camera to be operated....so it helps to have a junk scrap cartridge available to play with the camera's settings in a 'dry run' mode), the batteries are weak or a poor connection from the battery chamber to the camera body (make sure the contacts on both camera body and battery chamber metal fingers are clean), or something is wrong with the autoexposure mode. The Builtin Daylight Conversion Filter is moved in and out of position via the 4 position knob on the right side of the camera body. The Filter change can be seen if you look down the front of the lens, with the zoom in about the halfway position and either using a small flashlight or under a light source....you'll see the filter move in and out of position. There isn't any viewfinder indication, which would've been nice to have. But then, many Super 8 cameras don't indicate the Filter Position in the viewfinder display. And lastly, yes....that troublesome Tripod Socket. The LEICINAs are made in Germany and are threaded from the factory with the European Tripod Thread Standard which is larger that our quarter inch "Whitworth" thread. Usually they were fitted with a small screwin adapter which reduces the size to our quarter-inch one, but these can unscrew by repeated tripod use, if it's not seated in tightly enough. BOLEX tripod socket adapters will fit the LEICINA (and all other still and movie cameras that have the european sizing). You can find these for BOLEX on eBay and from various vendors. So, once you get that adapter, you'll be fine. They are usually under $10 USA, but pricing varies depending where you buy them. That nice low center of gravity on these LEICINAs really helps make for rock steady images (and the unique film gate design also contributes). Hope you sort this all out soon and get to use your new camera!

In the 1970s and 80s there was a variety of higher speed filmsocks for Super 8mm. Places such as ESO-S Pictures and Superior Bulk Film Company offered filmstocks in B&W up to ASA 1,000. GAF used to make Super 8mm as fast as their B&W ASA 600 and GAF Color Reversal ASA 640. KODAK's now long discontinued Professional EKTACHROME SMA 7244 ASA 160 Type A, was easily pushable to E.I. 320 and E.I. 640, and I had great success with pushing it up to E.I. 800; albeit the increased grain and color shifting at that point. Also the long ago KODAK favorite of 4XR 7277 ASA 400 was immensely popular with sports filmers. But the films were usable, looked great when used correctly and served a purpose, just as the new high speed films we have today. The current crop of KODAK's produced Super 8mm filmstocks can all be pushed to double their effective filmspeeds quite easily with minimal sacrifice in quality, and beyond if needed (if you can live with any artifact drawbacks such as grainier images and contrast buildup). One reason filmspeeds have been relatively slow over the years is that most filmers shoot in daylight, and that usually requires slower speed film, and the other benefit, which is finer image grain. The days of mom & pop shooting Super 8mm have waned significantly, and most of us using this format (or 8mm or Single-8 or 9.5) are enthusiasts, hobbyists, serious amateurs and even professional workers. So, using a higher speed filmstock in Daylight such as TRI-X at ASA/ISO 200, with proper B&W filtration for contrast and tonal range (via either using the builtin 85 orange filter, or other orange, yellow, medium yellow, deep yellow, green, red etc filters) coupled with maybe a Polarizing Filter or Neutral Density filter, you can easily get the effective E.I. down to around E.I. 10 to E.I. 50 and that will allow shooting in most any bright light situation. The filmstocks available can also be cross-processed, and for example, when using EKTACHROME 100 Daylight as a Color Negative, it could be pushed up to ISO 400 easily if needed. The same goes for TRI-X 7266 which can be done as a B&W Negative, either without Reversal in the same chemistry thus yielding a higher contrast Negative image, or in any one of several continous tone Developers to yield a nice rich toned Negative, which can also be pushed to ISO 400, ISO 800 and even ISO 1600 (the last one with some critical limitations of course for exposure latitude, film response, and grain). So, there are still many options with what is available, and we also have filmstocks made by other sources in this unique format of Super 8mm. I must add, yes, I have used that ASA 1,000 B&W filmstock that used to be available, as well as the GAF 500 Color Reversal, the EKTACHROME SMA 7244 and others over the years. While the grain was higher, it wasn't any worse than when KODAK's 4XR 7277 was still available and that was ASA/ISO 400, which could be pushed another stop or two easily. It's still nice to know we have various filmstocks, smaller than in the past, but still enough to allow us creative folks some serious options for our filmmaking craft. As for the "crop factor", not sure which area you want this to refer to. In projection, it's relatively small on higher end projectors, nominally around 10%. For video transfer, that all depends on what company is doing it and what equipment they are using and how its setup. It's quite possible to transfer full frame complete with ragged edges if one wants it to look that way, similar to the full frame 35mm printers that filed out their enlarger negative holders. So, the results vary, and you'd have to ask what the cropping is, or just conduct some test rolls prior to committing a project to a given laboratory. Hope this helps. Best regards.

Single-8 is still a viable and fun format to use, and virtually compatible with Super 8mm, especially if using the reloaded Super 8 acetate based filmstocks. The reloading of bulk film allows virtually any existing Super 8 filmstock to be custom reloaded into the Single-8 cartridge; either by a lab or by an individual. The drawback to reloaded acetate filmstock is the shorter length; 40 feet (12m) versus the original FUJI FujiChrome R25 and RT200 lengths of 50 feet (15m). Living with the shorter length hasn't detered those that know the fun of these cameras and the advantages; such as full film rewind for special effects, split-screens, titling, double-exposures etc.....and the steady even image registration. Many of the cameras, especially later ones are fun to work with. I love the very tiny FUJI P-2 which fits in a pocket for on go filming, and various models inbetween all the way up to the full featured lens interchangeable FUJICA ZC-1000. While there are two main problems these days: [1]. The shorter filmlength of about 40 feet (12m) when using the various acetate reloaded Super 8mm filmstocks. But ask anyone using these cameras and this format and they will tell you that it's still worth doing. [2]. And the larger problem, film processing. This mainly affects the original FUJI FujiChrome R25(n) and RT200(n) films, since the main service for them is in Japan. ALl other reloaded Super 8mm stocks can and should be easily processed by any lab doing Super 8mm films. The filmmaker could also send them the film from the cartridge in a lab bag or filmcan properly labeled if they are doing their own reloading of the bulk filmstock. So, it would just be proper communication with whatever lab you wish to use in getting the film processed and the cartridge returned to you afterward with the film. I don't normally pipe in here about myself, but I have been processing still and movie films since 1974, and here in Plattsburgh, NY since 1990. Being a small custom lab, I also process the Single-8 FUJI R25 & RT200 and reloaded films, in addition to Super 8mm, Double 8mm, Double Super 8mm, 9.5mm and some 16mm. And think about it, IF those using 9.5mm filmstock which have to put up with much greater limitations than any other format these days, a little patience in using Single-8 pays off in its own way. The new Single-System Sound film from Spain is another current innovation showing that there is continuing support for FUJI's baby. I say, if the camera has what you need and you can work with the filmstocks offered, go ahead and use whatever format it is you feel you'd like to work with. At the very least, it's worth a try to find out what works well and what doesn't.

Ian's advice is solid; test the camera via getting power to it on the external port. You can use a universal power adapter to do this. Anyhow...those battery holders are often missing, since the standard type that hold 4 double A batteries fit a large variety of cameras. The CHINON made cameras which have the Pistol Grip Handle use the same type (note, not the sloped handle type that has the batteries load under a bottom door). Radio Shack (Tandy) have all kinds of small plastic battery packs, and used to carry a type that would work some years back. It has two power connectors on the top to connect with the two tabs in the handle's battery chamber. Anyhow, yes, getting another camera is not a big problem, this lovely camera which can make fine images often sells very cheaply. However, on the online auction sites, you do have to factor in shipping costs as well. Good luck either way!

The ZEISS MoviFlex uses the traditional Super 8 camera lens design, where the Daylight Color Conversion Filter moves into position between the Zoom lens module and the 15mm fixed internal prime lens. This design is used on virtually all fixed zoom and non-zoom Super 8mm cameras, and they do not use a clear UV filter as is common on the BEAULIEU 2008S and up interchangeable models (only) to maintain focus collimation to the film plane. So, yes, you can remove the filter in your Zeiss without any serious effect at all. As for the BEAULIEU lens interchangeable cameras....they are very usable as they are with the filters removed. Since collimation and shipping costs will be significant to the repair station, I recommend doing a focus test at various focal lengths with the lens fully open, then at F/2.8, and then at F/4. Examine the tests and see where the focus is off the most....make notes of those settings....then conduct another test at those settings, but with the focus changed slightly to just before and just after the correct focus point. Slate your shots so you can tell what you're doing....just make a sheet of paper for example....F/4 at minus focus or plus focus; whatever helps you out. Adjusting the lens for correct focus at the film plane also affects the image seen on the ground glass, so that has to be reset as well sometimes.

This very early 1960s ARGUS 802 does not have manual exposure control. So, it's very limited, without doing some modification so the AutoExposure Light Meter will read ISO/ASA 100 correctly (which may not be easily doable, and would also be dependant on the metering circuitry working correctly prior to modification). The ONLY way you can use this camera as is, with EKTACHROME 100 Daylight is to shoot with it in lower light levels where the exposure would be correct, with the lens aperture FULLY OPEN and the FILTER set for TUNGSTEN (or out of the lens path...since EK100D is Daylight balanced and that filter was intended for Tungsten Color films which back in the day when it was made, was KODACHROME-IIA. To know what that would be, you'd have to meter separately and get an exposure reading close to 1/36th Second Shutter exposure at F/1.8. Since those parameters of exposure would most likely be very early or late in the day, or in deep shade, or on a very dark and gloomy overcast day..........it leaves you with very little options for using it. So, my recommendation (and that of everyone else here more than likely) would be to locate another camera to use. You can find all kinds of bargains on eBay. Also there in the UK, you've got so many Carboot Sales going on every weekend...so hunt around...and bring fresh Double A batteries to try out whichever ones you find. That notwithstanding, borrow a better camera if possible. But I'm all for the buy one for yourself option. CHINON made so many cameras, under their own name, and also under store brand names such as GAF, REVUE, PORST, BOOTS, SEARS, WARDS, FOCAL and others. They usually sell for very cheap, yet are respectable cameras. The GAF ST-xxx series are very good, with the ST-101, ST-111, ST-111E, ST-602, ST-802 being very good.....the latter two versions also run at 24fps (if that's important to your needs). I have seen these sell on eBay well under $50, and even as low as $5 sometimes. It's a gamble since very often the seller claims ignorance....but I have purchased several over the years and have always coaxed them to life for use. Even if the meters don't work, these Chinon made cameras often have Manual Exposure setting.....independant of electrical power; very important feature. Anyhow, good luck and hope you sort something out!